Theatre Design & Technology - Fall 1987 - 62

Contemporary Theatre
continued from p. ]7

However, the words are there:
I am weary of absolute generalizations on the
nature of theatre. When someone tells me, for example, that the pro cenium frame is an obstacle to true
contact between actor and audience, when someone
explains to me, in detail, and in a theoretically impeccable way, as if ab olute fact, that this frame
separates the tage and the house, I simply refuse to
believe it. I have seen actors, behind gilded, rococo
frames, who were in direct, intimate contact wi th
each spectator, from the orchestra to the galleries. I
have also had the experience of being seated for four
hours, crushed among fifty people in an attic in
Hamburg, and participating in the performance in a
way that was so intimate that it seemed we were
really taking pan in the life of the characters. But
I'm not drawing any conclusion from this exalting
experience. That attic became a fully satisfying
house solely because we knew that everybody else
had been bombarded in the same way. My pleasure
that night depended on the time and the place.!'
Peter Brook is a great director. He thinks a lor, though
he is wary of the reflection of others, especially if it has
the odor of science about it. While there is truth in what
he says, there is also room for argument. In refusing to
take a stand, he maintains his freedom. But for my part, I
challenge him, most amicably, to moul1t his _VIahabharata behind the gilded frame of a proscenium
stage.
It is not to be like Peter Brook that I refuse to draw a
conclusion, bl1t because, despite everything, I cannot
refuse to choose.
My thoughts are akin to those of Edward Gordon
Craig, to one of his most original proposals. In 1922
Craig visited the International Theatre Exposition in
Amsterdam in which he participated. He studied the
designs and models, the works of scenographers and
architects. He noted his thoughts, positive and negative,
as well as one more general idea:
The theatre must be a ho1101v space with roof and
floor and walls only: within this space must be
erected for each new type of playa new temporary
stage and auditoriumThus we shall discover new theatres, for each
kind of Drama demands it special kind of PlayhouseThe attempt to fit old wine into new bottles and
new wine into old bottles
is what has been our Error in the past
February
E.G.C.
19221~

This is an extremely modern proposal that rests on the
spatial harmony of three elements: actor, stage, and
house-a harmony to conceive and establish for each
new production, each work having within it its own
scenographic architecture and its own line of action.
60

TD&T'

FALL 1907

This approach is not one of a theoretician, but of a
practitioner of the theatre in whom practice preceeds
theory.
This proposal also has the advantage of making each
production an event, the flowering of something newbased on that surprise which is so necessary to the
spectator. It is not a matter of running after novelty, but
rather of engaging the spectators in the excitement of a
new adventure, of immersing them while holding them
in suspense. By this organization of space, new for each
production, the spectators themselves becomes part of
the mise en scene while still conserving their freedom of
perception.
This is a notion that must be preserved at all COSts: the
spectator's creative perception. On this subject, let me
quote two points of view:
One was written in I 78 by Theodore de Banville: "In
theatre, what is good is that which leads to direct communion between the actor and the spectator, what is bad
and deadly is all that creates an obstacle to this
communion."
The other dates from the first decades of the twentieth
century. The director Vsevelod Meyerhold desired a theatre wherein the spectator - after the author, the director
and the actor- is the "fourth creator" of the
performance.
But look around you. Craig's declaration was not a
prophecy. Had he published it at the time, he would
probably have been laughed at by his habitual detractor.
But look well- they are growing, these empty spaces
within which new types of temporary stages and auditoriums are being built. Craig's future lives in our
present.*

NOTES

I. This axiom of Protagoras, often quoted by Adolphe Appia,
serves as the motto for the latter's work L'Oeuvre d'art
vil'ant IGeneva- Paris: Atar, I9lII and as the ti tle of his essay
published in La Revue tlJlititrale IParis, no. 25, 1953, pp.
7-151·

2. Cf. Adolphe Appia," Totes sur Ie theatre," in La Vie musicale, Apri I I and 15, 190
3. As a motto for his work Die Revolution des Theatres
l1\lunich-Leip=ig: George luller, 19091, Georg Fuchs wrote
the phrase "Rethearricalize the theatre."
.+. An expression used by Adolphe Appia in the preface to the
proiected English edition of his work La _\Iusique et la mise
en scene. Cf. La .\lusll]ue et 10 mise en scene, Bern: TheaterKultur- Verlag, 1963, p. xiii.
-,. Jean-Jacque Rousseau, Lettre a d'Alembert sur les spectades, 17 5
6. lean Vilar, text of 19,0 reproduced in De la tradition the·
,it rale, Paris: L'Arc he, 19,5, pp. 153-15'+.
'. Peter Brook, in Lt's Lleux du ,pectade, L'Arc/mecrure d'ou;o!lrc/"l1l1i, Boulogne-sur-Seine, no. 152, OCI.-:\Q\·., 1970, s.p.
S. Romain Rolland, in Le rheatre du peuple, Paris: Albin
.\lichel, 1913, pp. 113, 11'+, 115.
9. IbId., p. 121.
10. Tadeus= Kaillor in Le Theatre de la mort, texts collected and

prese11led by Denis Bablet, new edition review and published, Lausanne: L'Age d'homme, 19 5, p. 31.
II. A phrase frequently used by Tadeus= Kantor in recelll years,
nOtably during his public debates.
12. l\lax Reinhardt, "On the Living Stage," in .\!lax Reinhardt
and H/\ Thearre, 2nd edition, edited by Oliver 1\1. Saylor,
1 cw York: Breillano's, 1926, p. 6.+.



Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 1987

Contents
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